Italian Basso Continuo - 1650-1700

Sources:

Penna, Lorenzo: Li primi albori musicali, Bologna, 1672 [Imslp]

Bismantova, Bartolomeo: Compendio musicale, Ferrara, 1677 [Imslp]

Anonymous MS [ca. 1670-90?], Regole di canto figurato, contrappunto, d'accompagnare, Museo internazionale e biblioteca della musica MS E 25, Bologna [imslp] [Eng. trns.]

Scarlatti, Alessandro: Da sventura a sventura "per suo studio" [1690], I-Nc-34.5.2 [copy in I-Nc-33.3.10]. Modern edition here.

Footnotes:

1 [01:46]: In context, this example by Penna is referring to trills in the left hand, and not to the accented passing note. The accented passing note is described by him in pp. 78-9, quarta regola, but it does not have a term.

2 [02:39]: The term note scambiate ("exchanged notes") refers to the concept of "good" notes (consonances) and "bad" notes (dissonances), and the exchange between them.

3 [03:29]: The anonymous author of Regole di canto figurato [Bologna E 25] shows similar examples in pp. 68, and 142-3:

4 [04:09]: Notice that the anonymous author of Regole di canto figurato [Bologna E 25] do not use the term preparamento alla cadenza; he doesn't have a term for it.

5 [04:47]: The so called "traditional counterpoint" is called antico modo by the anonymous author of Regole di canto figurato [Bologna E 25]. He refers to it as the standard way of playing, as opposed to playing pieno / full.

Music examples in their original presentation:

1 [01:46]: Penna, p. 167

2 [02:41]: Regole di canto figurato, p. 101

3 [03:29]: Penna, p. 160

4 [03:53]: Bismantova, pp. [79-80].

5 [04:09]: Regole di canto figurato, p. 115

6 [04:43]: Penna, p. 163-164

7 [05:57]: Regole di canto figurato, pp. 165-6